Take your readers on a heroine's journey



You've completed a solid first draft of your book. Now you're seeking feedback on what's working and what isn't, at the big-picture level.

You're in the right place if:

You've completed a full first draft (or a large section) of your non-fiction book - a book that brings feminine archetypes, mythology and/or mysteries back to life.

You've edited your draft yourself, multiple times, to get it into the best shape you can. You know it's not ready yet, but you are unable to advance any further on your own. 

You want your narrative to be inspirational and compelling, freed from any confusion, digressions or structural problems that might distract the reader from the value of your message. 

Your aim is to take your reader on a well-crafted journey, to offer her a much-needed shift in perspective, so she is not the same person on finishing your book as she was when she started reading.

You need professional feedback at the big-picture level in order to achieve all this.

You may be dreading the editing process

You've worked hard on your manuscript, and it's taken courage. Your material might feel counter-cultural, extremely intimate, and/or bound to ruffle some feathers, especially if it's taking on culturally embedded misogyny.

You might be struggling to identify the problems in your work, let alone figure out how to resolve them. This is causing you consternation, even keeping you awake at night.

You may fear that an editor will tear it apart, "kill your darlings", or point out problems that you'd rather ignore - even if you can feel that something is not working - because fixing them feels arduous.

However, you're aware that you are no longer seeing your work clearly. You've been too close to it for too long. 

You're looking for an editor who's not only able to find the problems in your work and suggest solutions, but who is sensitive to - and educated in your subject. Someone who really understands what you're trying to do.

Editing is where the magic happens

Receiving editorial feedback needn't feel difficult or unpleasant. Quite the opposite: it can bring a sense of renewed excitement, especially if you welcome the editorial feedback with a spirit of collaboration and openness (with discernment of course).

You'll gain fresh perspectives that you wouldn't have arrived at on your own, by sharing your manuscript with someone who acts as an engaged 'ideal' reader and an editor in one.

It's in the editing process that your messaging gets fine-tuned - becoming deeper and clearer - and your sense of connection with your reader can grow stronger.

You might just fall in love with your work all over again, experiencing a flood of relief when you understand what's not working, and feeling motivated to make changes.

I offer two editing services: a manuscript assessment and a full developmental edit. This way you can choose the service that's right for you, depending on your budget and how detailed you'd like your feedback to be.


Also known as an editorial letter or evaluation, this service takes a look at your finished draft from the point of view of the big picture, not the minutiae. 

I will read your manuscript through carefully, focusing on the meaning and structural cohesion of your work, rather than on the sentence or paragraph level.

I'll look for any weaknesses in the overall shape and logic of your narrative. 

I will call your attention to places that need development or clarification, in addition to the parts that are working well.

Above all, I'll strive to help you build a strong communicative rapport between you and your readers, pinpointing where any 'connective tissue' might be missing, and flagging any major issues standing in the way of a seamless, satisfying reader experience.

This information will be presented to you in a 7-10 page editorial summary (double spaced).

It is valuable to go through this process and make amendments before you invest in a more extensive developmental edit, or pitch to publishers and agents.


This service is like the manuscript assessment (above) but is deeper and more involved.

Here, I'll offer you both an editorial summary of the big picture problems, and detailed in-line notes all through your draft, suggesting specific, granular ways you might fix these issues.

This service therefore combines a macro edit (the broad brush strokes) with a micro edit (suggested changes on the page), providing a comprehensive and practical list of suggestions and solutions for you to implement when you embark upon your revisions.

My job here is to help you capture the vision you set out to convey in the first place.

I'll work with you to ensure that what is in your head is being clearly conveyed on the page, in a way that is made clear for the reader. 

I set out to support your needs, while considering your readers' needs at the same time - practising 'two way empathy.'

It's at the author-reader intersection that the magic lies.

Your developmental edit includes:

  • A manuscript assessment - to assess how your narrative is working, and isn't, in a broad, overall sense, factoring in such issues as premise, narrative goals, structural cohesion, voice, reader engagement, and market fit. You'll receive a summary of around 10 pages (double spaced), depending on the complexity of the edit.
  • Notes inside your manuscript - to draw your attention to areas that are unclear, repetitive or out of place. I will ask questions where I see any holes in your argument, and highlight areas where more depth or detail may be required. If I see parts that might be better off deleted, moved, or kept aside for another book, I will note this too.
  • A follow-up 60-minute coaching call, to discuss any questions you may have about my feedback, and clarify your next steps. I request that you email me your most essential questions in advance. 

This service doesn't offer:

  • Line or copy editing - that is, detailed last-stage corrections on the level of grammar, syntax, language, spelling, punctuation, or compliance with publishing industry standards. This comes later: it can waste time and money while the body of the manuscript is still in development.
  • Fact checking - it is not my job to ensure that your names, dates, quotes, facts etc are correct, or to guard you against legal liability. This aspect is your responsibility.
  • Proofreading - a check of proofs is necessary just before the book goes to the printer. It isn't time for this yet: that's a couple of steps down the line.

Praise for this service:

"Even though I was unwilling to make your changes at first, in hindsight they were brilliant. I was too close to see them for myself."

Katharina Rapp

Author of Women, Glorious Women

"This is so much better! You’re a genius!"

Tee O'Neill

Author of the Tilda Ransome series and Writing the Biodrama (Endeavour Literary Press, USA)

Payment: Once we agree to work together, I will send you an invoice, payable through Stripe (an secure payment system which accepts major credit cards).

To get in touch:

Please click the contact button below.

It will take you through to a contact form. I'll respond to your enquiry within 24 hours, or as close to that as possible.


HOW might YOUR notes DIFFER FROM feedback from BETA READERs?

You might like to take your manuscript to a select number of beta readers before coming to me. Doing so will potentially help you to identify any big problems with your book (from a reader's perspective) that you can fix yourself.

NB Always be sure your beta readers are well matched and sensitive to your subject.

The difference between this and professional editing is:

I am trained to detect holes in your narrative with "x-ray vision," and I use professional methodologies.

I will suggest specific ways to address and counter any problems; and

I'm likely to be far more careful and detailed in my reading than beta readers will be.


Your story spine: The whole way through, I'll be looking out for your central message and the shift in perception you're walking your reader through. When your book offers your reader a step-by-step journey of transformation as promised, this will inspire word-of-mouth recommendations, the proven #1 way to sell a book.

Sensitivity: I understand that writing about the archetypal feminine can take courage, because you're likely to be taking on culturally embedded misogyny. I will not only be attuned to your message, but empathetic with your vulnerabilities.

Subject knowledge: I read widely about the archetypal feminine and the heroine's journey, and am passionate about these subjects. I can offer the perspective of a well-informed and sensitive reader, and also suggest useful supplementary resources to you, if desired.


I endeavour to bring penetrative insight and constructive criticism to my editorial notes, while always remaining kind and respectful in my communications.


Of course. I want you to love your book, the direction it moves in has to feel right in your bones, and you are always the ultimate authority of your work. 

It's not my role to influence, but rather to help you be true to your deepest vision for your book. I will provide you with information and choices, and propose a revision strategy that supports you in writing the best book you can. You can discard any suggestions that don't ring true for you.

When editing, I work with Microsoft Word's 'track changes,' which gives you the option to accept or reject each change I propose (if you book a full developmental edit).

 Discover how to take your readers on a heroine's journey